Accessibility, Inclusivity and Diversity

Devoted and Disgruntled Archivist

Accessibility

Catherine MacNeil, 8 September 2012

The question was Inclusivity and Diversity: How does it relate to us in our various locations. Having asked the question on arriving late to the session I found some written comments on the subject. They generally related to Eden Court as a venue and were anecdodes of people who'd never been in the venue despite having taken other people to the venue.

Nick Sweeting's Pret a Manger survey was quoted “ People who feel excluded or feel sure that they will be unwelcome, or made to feel stupid”. We discussed how the inclusion of statistics for attendance were often required by funding bodies and required venues to ask people questions such as “are you disabled?”, which some may not wish to answer and how ticking targetted diverse groups can impact on funding success but maybe colour your activity for all the wrong reasons.

I don't feel able to give any accurate report of all the conversation that took place within the session but I came away from it believing that total accessibility is the hope, via strong targetted marketing developed through honest conversation and dialogue.

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We live now in information - it is our environment. An aspect of what we can do in response to current events is the information we have about what's actually going on. Perhaps if we can clean up the information environment we will make better decisions about what to do next.

We combined two discussions, one about what it was to navigate the world of theatre with a female body and the other about what it was to navigate that world with a working class voice. There are many parallels.

To get more diversity in our arts scene we will need to deal with the emotional undercurrents that are fueling our behaviour and impeding progress. What solutions do we have for addressing this? We did focus on what it means to be a woman who is doing this. What is below is not a prescription, rather a record of our discussion.

"How do we improve female working class visiblility in the arts?" was the question posed at the start of day.
As a female arts sector leader (Festival Director - therefore a programmer, fundraiser, commissioner, debater, network lead/contributor, ambassador, etc), I felt it was important to ask what people wanted or needed from me, as someone who has a voice -in certain spaces- to offer. I was trying to buck the assumption that I would already know what women wanted from their peers and lead

The use of co-productions between opera houses across different parts of the world is claimed to be a way to pool companies’ resources and save money. However, is a consequence of this practice that such productions are likely to communicate less effectively with the audience of any single theatre because they are trying to reach too many different audiences at the same time and because taste varies so greatly across the world?

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